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Compelling Image

Nature and Style in Seventeenth-Century Chinese Painting

«A book of immense breadth… With its profundity and richness…this book is one no serious student of Chinese art can afford to be without.»

Ellen Johnston Laing, Ars Orientalis

The Compelling Image will delight the art-lover who does not yet realize that Chinese painting can be as original and moving as El Greco or Cezanne. With a graceful authority, James Cahill explores the radiant painting of that tumultuous era when the collapse of the Ming Dynasty and the Manchu conquest of China dramatically changed the lives and thinking of artists and intellectuals. Les mer

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The Compelling Image will delight the art-lover who does not yet realize that Chinese painting can be as original and moving as El Greco or Cezanne. With a graceful authority, James Cahill explores the radiant painting of that tumultuous era when the collapse of the Ming Dynasty and the Manchu conquest of China dramatically changed the lives and thinking of artists and intellectuals.

The brilliant masters of the seventeenth century were reconsidering their artistic relationship to nature and to the painting of earlier times, while European pictorial arts introduced by Jesuit missionaries were profoundly influencing Chinese techniques. The reader/viewer is presented with a series of crucial distinctions of style and approach in a richly illustrated book that illuminates the whole character of Chinese painting.

Cahill begins with a relatively neglected artist, Chang Hung, who moved traditional forms ever closer to literal descriptions of nature, in contrast with the theorist painter Tung Ch'i-ch'ang, who turned the same traditional forms into powerful abstractions. A chapter focused on Wu Pin offers new and controversial ideas about the impact of European art, as well as a related phenomenon: revival of the highly descriptive early Sung styles. Looking especially at Ch'en Hung-shou, the greatest of the late Ming figure painters, Cahill examines a curious mixing of real people and conventionally rendered surroundings in portrait art of the period. He analyzes the expressionist experiments of the masters known as Individualists, and distinguishes these artists from the Orthodox school, concluding with a bold reassessment of the most eloquent of later Chinese painters, Tao-chi.

Over 250 illustrations, including twelve color plates, are drawn from collections in the United States, Europe, Japan, and China. This is a book for anyone interested in China, its past, and its art, and for the enthusiast who wishes to broaden the horizons of enjoyment by exposure to a most engaging writer on an exquisite era.

Detaljer

Forlag
Harvard University Press
Innbinding
Innbundet
Språk
Engelsk
ISBN
9780674152809
Utgivelsesår
1982

Om forfatteren

James Cahill is Professor of the History of Art at the University of California, Berkeley.

Anmeldelser

«A book of immense breadth… With its profundity and richness…this book is one no serious student of Chinese art can afford to be without.»

Ellen Johnston Laing, Ars Orientalis

«A generously illustrated book, extraordinarily rich in insights, ideas, and information… Cahill throws light on individuals and specific issues, bringing out the diversity of what he portrays as an intensely experimental, ‘self-conscious’ age of Chinese painting… Perhaps the single most important contribution to the book is Cahill’s demonstration of western influence on Chinese painting from the beginning of the seventeenth century… His analysis of this question, and of many others, opens new doors for the field, which will never truly be the same.»

Susan E. Nelson, Journal of Asian History

«Among the most important works on later Chinese painting to appear in any Western language.»

Thomas Lawton, Director, Freer Gallery

«The book gives compelling lessons on what to see, where to look, and how to infer ideas and meaning through pictorial form and techniques… For breaking new grounds in the study of Chinese paintings, for teaching us how to look, and for bringing issues of Chinese art into the wider perspective of art history, we award the 1982 Charles Rufus Morey Award for the best art history book of the year to James Cahill’s The Compelling Image

Citation presented by the College Art Association of America

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